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Double Bass is there a traditional guide for fingerings?

S

seecee

Mar 26, 2012
3
0
#1
I'm back playing after MANY years of not - and I've forgotten a lot of the basics. Right now, I have the sheet music for the Bach Air from the 3rd suite. I'm wondering about this - and all other music, for that matter - when determining fingerings. Are there some basic "truths" about fingerings that I should attend to as I set about trying to find the best way to play this? All I'm trying to do at this point is avoid open strings most of the time. Can I get any guidance on this? Thanks! CC
 
#5
Refinement: I try to avoid open strings when they stand out and sound so different from the rest of the line. But, for instance, in a melodic passage, is it considered a mistake to move up a position using the fourth finger for both notes? e.g. say you're playing a passage on the G string and you're in 1/2 position, and you're playing the B flat with your 4th finger, and the next note is a B natural. Maybe more context is required in my imaginary example, but in general, would most players recommend NOT playing both notes with the 4th finger?
 
#6
seecee said:
Refinement: I try to avoid open strings when they stand out and sound so different from the rest of the line. But, for instance, in a melodic passage, is it considered a mistake to move up a position using the fourth finger for both notes? e.g. say you're playing a passage on the G string and you're in 1/2 position, and you're playing the B flat with your 4th finger, and the next note is a B natural. Maybe more context is required in my imaginary example, but in general, would most players recommend NOT playing both notes with the 4th finger?
Click to expand...
As you say, it may depend on context, but generally, if it feels comfortable and sounds the way you want it to, there's no particular reason not to finger that way.
 
#7
seecee said:
Ok - I'll check out my Simandl, but until I gear up with a teacher, are there some rudiments that I should be aware of regarding fingering?
Click to expand...

Simandl is the basic 1,2,4 fingering system. There is also the open hand tech - 1,2,3,4 and the use of the thumb below the octave. The more techs you have, the better musical decisions you can make. One does not live by 1,2,4 alone anymore.
Tom Gale
asodb.org.
 
#8
seecee said:
Refinement:......... But, for instance, in a melodic passage, is it considered a mistake to move up a position using the fourth finger for both notes? e.g. say you're playing a passage on the G string and you're in 1/2 position, and you're playing the B flat with your 4th finger, and the next note is a B natural. Maybe more context is required in my imaginary example, but in general, would most players recommend NOT playing both notes with the 4th finger?
Click to expand...

In a melodic passage, look at which notes 'go with' other notes. Say, a passage ending Ab, Bb, C, D, Eb. (G string).
Bb 'goes with' the C and D with the Eb. So; 1/1 4/2 4 fits the melodic and fingering pattern. Even better is to end /1 2 - the 2nd finger being much more expressive that the 4th. Better vibrato, etc. even though you have to shift a 1/2 step further.
Tom Gale
asodb.org
 
#9
Tom Gale said:
In a melodic passage, look at which notes 'go with' other notes. Say, a passage ending Ab, Bb, C, D, Eb. (G string).
Bb 'goes with' the C and D with the Eb. So; 1/1 4/2 4 fits the melodic and fingering pattern. Even better is to end /1 2 - the 2nd finger being much more expressive that the 4th. Better vibrato, etc. even though you have to shift a 1/2 step further.
Tom Gale
asodb.org
Click to expand...

I should add; You could finger the passage 1 4/1 4/ 4 BUT the Bb to C - which musically 'go together' would be separated by a shift as would the D to Eb. Very UNmusical esp. the 4/4.
TG :scowl:
 
#11
When playing billiards, the next three shots you hope to make must be taken into account before you can effectively choose how to approach the ball in play right now.

I find DB fingerings similar to "playing position" in billiards: the "correct" fingering depends on what was played before the present note, and the notes that will be follow. Context is everything.

There is seldom only one correct fingering. And the fingering that one player finds ideal may not work for someone else.

My two cents. IMHO. YMMV...
 

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